Juliet Of The Spirits

Visions, memories, and mysticism all help a 40-something woman to find the strength to leave her cheating husband.


Overview
Fellini's first film in color is given a glorious release by Criterion. The widescreen anamorphic print (with an aspect ratio of 1.85:1) has a perfect color balance which will amaze viewers. The Italian language soundtrack is in Dolby Digital 2.0 (mono). There are optional English subtitles. Extras include a BBC documentary entitled "Familiar Spirits" made in 1966 with a running time of approximately 21 minutes. This black-and-white film primarily consists of an interview with the director in English in which he discusses numerous topics surrounding his unique creative process. It is well put together and has many insights. The final disk extra is the theatrical trailer for the film. Though slim on extras, this disk is still excellent given the flawless print of the feature.


All Movie Guide - Andrea LeVasseur
The first Fellini film in color, Juliet of the Spirits is one of the director's lesser-known works and one with enigmatic meanings. Intending to reveal the fantasies and inner world of Juliet (played by Fellini's wife, Giulietta Masina), the fantastic events still seem to be streaming from Fellini himself. Memorable moments -- like the seaside parade and a bed with a slide into a pool -- show the director indulging in his gift for painting bizarre images. However, the story suffers compared to the vivid appeal of the visual spectacle. Masina's talents are almost mocked as she seems uncomfortably placed in the realm of her husband's fantasies while playing a wronged wife. The parallel relationship of the fictional Juliet and Giorgio with Masina and Fellini is further complicated by the presence of the flamboyant Suzy (Sandra Milo), who appeared in 8 1/2 as the mistress. Apparently, the husband and wife fought on the set, and it is debatable as to what the ending scene means, where Juliet walks off into the distance. For Fellini, she is embracing her freedom; for Masina, she was descending into loneliness. Not the best picture from either, Fellini's La Strada and Nights of Cabiria make far better use of Masina's sweet and charming comic talents